Thursday, October 31, 2013

Money makes the world go 'round. We've all heard it before, and we've probably all uttered those words ourselves. Making music is, unfortunately, no exception to that rule; the bands with the huge budgets can often trump much more talented bands on sheer strength of sound alone. Just ask Metallica. So the lesser known acts, those with minimal if any budget must make the most of what they have; be it a computer, laptop, or friend's garage, you just have to make the best of a bad situation. Whatever the circumstances are for Hathorious, an Egyptian band that floats somewhere in the realm of blackened thrash, it may be time to invest in the future of their sound. Their talents are vast, and their vision is undeniable. But hiding all of those intangibles is the one thing we can hear clearly or ourselves; the production. And while you will certainly hear worse this year, maybe even today, "Beneath The Shade Of Hathor" pushes our audio threshold to the limit.

There is no point in masking the obvious or waiting to point it out; the production on the album is mediocre at best. The early moments of "Dawn Of The Ancients" do an admirable job of hiding that fact behind sound effects and a plucked melody. It is a great way to open the album, building a mood that is equal parts ominous, with the rumbling background noise, and enchanting, as the melody floats through the air. But as soon as the album begins in earnest, the mix is hard to bear. Whether it is the recording of each instrument, or just how they are layered together, it becomes increasingly hard to discern one from another. Drums mask guitars, guitars all but drown out the bass, and when played simultaneously, there is little more than a mass of distortion flooding through your speakers. In the few moments where the dust settles enough to make heads or tails of it all, you get treated to a flurry of deft guitar work. Guitarist Alhussin is the band's biggest weapon, despite a chaotic place in the pecking order.

When his guitar is left alone, clean or distorted, he works wonders; the opening to "Glory Be To Osiris" is all the proof you need. But the metallic clang and sizzle of cymbals fairly drowns out much of the remaining work. The chorus hear, a black metal meets thrash affair, might be the best thirty second chunk of full band action contained on the album. But the cymbal work alone becomes the bane of the album at the same time. When tamed and contained, it can be a great accent piece, as on "Abydos," where the machine gun snares find a fitting home. Drummer Tarek El Maghrabi finds a way to exercise his speed drills, and still be a part of the cohesion of the song. Here it is less a question of the ability to record a great track, as much as it is about piecing it together and finding balance. Alternating melodic and vicious segments would be much more well received if the transition was handled with care. Unlike any other on the album, " the closing track "Funeral of Akhenaten" is a down tempo doom march, overflowing with massive kick drums and distortion. As surprising as it may be, it brings the low end into the spotlight for the first time.

It takes a lot of talent and vision to overcome severe faults in the recording process. A poor mix, lackluster engineering work, or just minor volume issues can take a classic album and relegate it to the land of the mediocre. While Hathorious may not have written the next huge metal release, they certainly envisioned something far more refined than what sits in mp3 format on your hard drive. The mixing issues alone make this album difficult to listen to in one sitting, for an audiophile, or someone with a sound system they are particularly proud of. The cymbal sound alone taints a large proportionate chunk of the album, much like the snare sound of little Lars Ulrich did to the steaming pile of manure that was St. Anger. By no means is this as big a faux pax as that was; not when millions of dollars were involved in a single recording session. But for Hathorious to get any better, they will have to start from the beginning, and treat the recording process with more attention to detail. That, or "Beneath The Shade Of Hathor" become the first in a line of production failures.

Wednesday, October 30, 2013

As I’ve stated in countless other reviews, power metal this
year has found its resurgence. What the bands are putting out now are some of
the best in the genre. Adding to the amazing catalog of albums is Wisdom with
their third full-length, “Marching for Liberty.” I’m not going to lie, I’ve
never heard their other albums before this one, but what I can tell you for
sure is that this album kicks ass. On ‘Marching for Liberty” Wisdom doesn’t
break down the wall or have anything really innovative. What they do have is a
collection of songs that are well written, catchy and have some of the best
choruses in the universe. They know what they want to achieve and they know how
to deliver in spades.

“World of the Free” is a perfect track to give the listener
an idea of how powerful the vocals are on this album. “Dust of the Sun” is one
of the best tracks and has one of the best choruses I’ve ever heard. Everything
about this track is perfect. The vocal melody in the verses to the guitar work
is pure power metal genius. Two tracks in and they already get massive props
from me. “War of the Angels” is a little heavier, complete with a killer riff.
Again, the chorus is jaw dropping. “Failure of Nature” is a little slower than
previous tracks and showcases melodic riffs that will get the listener
headbanging. Gábor Kovács and Máté Bodor’s guitars complement each other
perfectly. “The Martyr” picks the pace back up and delivers another stellar
track on the album. Like “Dust of the Sun,” “The Martyr” is power metal genius.
“God Rest Your Soul” has a great acoustic intro and it really showcases Gábor
Nagy’s vocals. He fucking tears it up on this song. The guitar solo is also
spectacular. “Take Me to Neverland” doesn’t bring anything new to the album,
but it’s a solid track nonetheless. “Wake Up My Life” and “My Fairytale” miss
the mark a little bit. Both tracks just don’t seem to go anywhere or showcase
something that hasn’t already been done on the album thus far. “Wake Up My Life”
is a good attempt at an acoustic ballad, but it just falls flat. “Have No Fear”
is another slower track that has the most epic chorus on the album. “Live Like
A Beast” picks the speed back up again and it’s one hell of a track. The vocal
melodies are mind boggling. The closing track, “Marching For Liberty” is the
longest track on the album and it’s a great way to close it out. It’s definitely
the most epic track on the album and also the most varied. Everything they’ve
done on the album all comes together in one nice, tight package.

So I’ve realized that I said “chorus” about one hundred
times in this review, but they really have to be heard. “Marching For Liberty”
has the best choruses this year. I can’t think of one band with vocal melodies
like this. It’s not just the vocals; every other instrument is great as well.
The guitarists do a stellar job and the drumming is solid. Although the album
does hit a couple of low points, it doesn’t detract too much from the overall
experience. The majority of the album is fantastic. Like I’ve said before,
while it doesn’t really do anything new, “Marching For Liberty” is still a
solid album and is a must listen for any power metal fan.

Tuesday, October 29, 2013

Much in the way that the hair bands of the 80's and 90's were pigeonholed and stereotyped, so are the stoner doom bands of the new millennium. The difference, of course, being that the big hair, lipstick, and fishnets stockings worn by those oft dismissed bands of yesteryear managed to disqualify them from any conversation about true talent and foresight. Things have changed, albeit in small ways. Everyone thinks they know what stoner metal is all about, and we judge it by the tag alone. but much like the other blooming genres, there are many intricacies that fall under that same umbrella. Curse The Son, a three piece band from Hamden, Connecticut, are all about the small things. Whether it be there obvious influences, their ominous artwork, or just the lues infused riffs and vocals that put onto recorded media, they are doing things slightly different from their contemporaries. And, as a result, they have recorded one of the best albums of the year, with "Psychache."

There is no hiding a riff this thick, as guitarist Ron Vanacore makes known very early on in "Goodbye Henry Anslinger." How they manage to bring out the inner melody in an instrumental so down tuned is anybody's guess, but they do it beyond expectation. It is the vocals, also provided by Vanacore, that catch you completely off guard. His voice is unlike any you've heard recently, a melodic cry that seems contrary to the distortion that it accompanies. The two come together brilliantly, setting the bar high for the rest of the album. Thankfully, there is no letdown to be found here or anywhere else. rather than hide or mask their love of all things stoner metal, they display it openly on tracks like "Spider Stole The Weed." This is showcase piece for the rhythm section, with bassist Cheech Weeden and drummer Michael Petrucci further bolstering the low end. As they bring the sound wave down to new lows, they also bring the tempo down with it. But it isn't hard to pick out the noticeable and just as easily repeated groove. That theme, the undeniable groove, permeates the entire disc; forcefully at first, more subtly on songs like "Psychache." And despite being far more aggressive, it leaves so much for your mind to piece together. The last thirty seconds alone could be on mental repeat for days.

In a daring change of pace, "Valium For?" is a different kind of interlude track, one that builds from whisper quite riffs to a blasting mountain of guitars, bass and drums, if only for a second, before fading back into the silence from whence it came. But when your haunted house goes up a few days from now, it is "Somatizator" that will be your theme song. It embodies something eerie and sinister, something counteracted by Vanacore's signature voice. But when the entire thing spins to a halt halfway through, it wouldn't be far fetched to see an axe wielding murdered appear from the smokey haze. Coupled with the album cover, and this could be the song nightmares are truly made of. The lyrics indicate as much, as Vanacore croons, "this is where the nightmares go, they find you when you're all alone." No amount of bluesy, stoner doom riffing will make that chill go away. Even as it fades, and "The Negative Ion" begins, the hair on your arms won't go down quite so easily. It wouldn't be a stretch to call this final monster one of the best tracks of the year, despite it's simplicity, simply because it infects you. The buzzing distortion, the effects laden main riff, it all fills your brain with smoke.

We talk so much about the small things that take an album from good to great. Bands that can get a grasp on those minor details can easily separate themselves from those who can't; thankfully, the cream always rises to the top. Curse The Son, at first glance, or even first listen, might not seem like they have a great deal to pick apart and appreciate; one supporter on their Bandcamp page summed it up best in saying, "I saw this album months ago, I was like eeeck! and passed it up." That reaction probably isn't isolated to one person, or even ten. But if you can get by that initial snap judgment and just hit play, it will be more than worth the chance. One track in, you'll be happy you went for it. Two tracks in, and you'll be willing to throw them a couple bucks for it. By the time the album ends, you might not want to stop. Yes, "Psychache" really is that good. The cover art may look like a dvilish figure chasing you away. But hidden behind that artwork is an album that could quite possibly blow you away in a cloud of smoke.

Monday, October 28, 2013

From the ashes of Thristana rises the phoenix now known as Sorronia. The "Devil's Destiny" first introduced us to the many talents of István Biró and Anna Kiraly, a duo that had come together with grandiose visions and sounds in their collected minds. But that band, or at least the name, was not meant to be. Their shortcomings were in manufacturing the right lineup to fit their dream, something a wave of session musicians simply couldn't do. But it would seem that those holes have now been filled, as the band returns with a familiar sound, but a new moniker, and a newly signed deal with Bakerteam Records. The real surprise isn't that Kiraly and Biró have made it this far, but how qucikly they've been there and back again. With only a year separating their past from their future, Sorronia looks to pick up where its ancestor left off. And while "Words of Silence" isn't the masterpiece these two dreamed of, they are well on their way.

The intro track, which falls just short of a minute long, is a reminder that keyboardist István Biró is a force to be reckoned with. His composition here is rich and inspired, which sets the table aptly for "Fallen Angel" to begin. Having refined so much of their sound from their previous release, the mix is crisp and clean, with vocalist Anna Kiraly's voice laying so delicately on top of a tower of instrumental backing. But while the guitars, bass and drums fit the bill perfectly, it is the keyboards that tie the entire ensemble together. Through the use of a full array of horns and strings, Biró changes the entire landscape of the track, adding a quality that could best be described as majestic. That doesn't apply to all parts equally, however, as the spoken male interjections seem out of place in the broad sweeping melodies. One of the major improvements seen here is the ability to balance symphonics, distortion, and Kiraly's tone, as they do on "Enemy Of Yourself." The full band is present, but it becomes a duet between voice and orchestra, one that works time and time again.

If one track were to be placed on a pedestal, "Serenade Of Memories" may fit the bill. It's identity crisis is the listener's gain, as it crosses the line to ballad, but stays bizarrely satisfying nonetheless. Contained within this instrumental is a great piece of cohesion between rhythm section and lead, as drummer Kristóf Vízi makes sure his "voice" is heard. By the time the vocal harmonies emerge in the latter stages, you would have to fight off the urge to sway. But that urge is met with sheer force as you transition from soft and brooding to some of the more driving riffs on the album. Each bridge section, overflowing with horns and percussion, pulls you in and surrounds you. Not to be outdone, the guitar tandem of László Ollós and László Szabó inject healthy doses of grit to the mix, including a solo section that lights the fuse for an explosive ending. Those combustible abilities are highlighted throughout the album, but never more clearly than on "Shattered." But that contrast, unfortunately, leaves the door open for a misstep as well. Kiraly sings with little backing early, and her voice isn't as powerful as it is with accompaniment. Simple aesthetic problems like this, though, are corrected quickly and easily, with the help of a keyboard and accompanying virtuoso.

If there is one concern to be raised, it comes as the album moves along. Having burned off so much raw energy early, tracks like "My Eternal Land" have a hard time matching up. They stand on their own two feet, mind you, but there are no surprises hidden around the corner. And while Sorronia do the job well, they trade in their winding melodies for a more straightforward approach. Soothing takes precedent over soaring, to a good result. But it is immediately clear that there are still powder kegs to be lit, as the opening march of "Leave It Behind" brings back some of the fire, albeit in a tempered manner. The length of the track, barely reaching three minutes, has a lot to do with that; there is no room to relax or pad out the track. It ratchets up the intensity, without sacrificing the beauty. Not coincidentally, you get perhaps the best vocal performance on the album. Following that same lead, the closing track, "This Is The End," leaves it all on the table. Bringing to mind some of the most prominent names in the symphonic metal scene, Sorronia finds their stride here in promising ways. Biró is the orchestrator, Kiraly the voice, and the rest of the band the facilitator.

We all heard something in that Thristana demo that we knew wouldn't fade away. There was more silver lining than cloud, thanks largely to the keyboard and vocal team of Biró and Kiraly, respectively. With stability, they found a winning formula; one that Sorronia can build upon, where Thristana could not. This lineup is secure and strong, not relying on a team of studio and session musicians to fill in the all important middle ground. The results speak for themselves. But now that the hardest part of the journey is over, where will this path lead Sorronia? There are still wrinkles to be ironed out, both in production and writing, that will allow this group to move on to the next stage of their career. A few carefully placed commas and delicately turned knobs could be all they need to reach that goal. But outside of a stumble here and there, "Words Of Silence" is the album we all hoped would come. How high they can soar remains to be seen.

Friday, October 25, 2013

What makes the greatest guitarists in the world truly great isn't how
fast they can play, or how many ridiculous faces you make while you do
it. It's so much more than that. What sets those players apart from the
others is their ability to write cohesively. Sure, we all remember
"Eruption," but what made Eddie Van Halen great was that he knew when to
unleash a solo, or when a signature lick would fit into the grand
scheme of a song. Far too often, the "look what I can do" attitude ruins
guitar metal, a sad state of affairs that has only gotten worse in
recent years. But Mahogany Head Grenade, for their part, are taking a
different approach. This Dallas based three piece are staying true to
the metal genre, without writing song after song rooted in hammer
on/pull off dynamics. Instead, they are focused on the songwriting
process, a collected effort between three musical minds that has the
capability of producing rich, memorable tracks, rather than a few
fleeting shred fests. Their new album may not be "1984," but it is a
guitar driven album with all of the substance to stay around a while.
And that substance, in guitar, bass, and drums, is what makes "Return To The Point Of Departure" an album worth hearing.

After an extended intro and sample, you would be hard pressed not to feel your neck snap back at the first thumping piece of percussion. Drummer Mike Pritchett isn't one to hold back or restrain himself, as is evident early and often. But here, he is the ground floor of a skyscraper, providing every bit of the foundation. The groove, the intense riffing of guitarist Dan Hyer leaps ever farther upward, exercising all of the shredding power of a Van Halen, with all of the thrashing devastation of Noud Smeets. He makes his guitar talk, sing, and scream over the course of nearly seven minutes, without the need for a breath or sip of water. The splicing together of vocal samples has a noticeable place in the mix, albeit as a background player. But it is the second track, "Trouble For Trouble," that will firmly ensconce this group in your brain stem. The guitar leads are catchy, but not in the sugary sweet vein of modern power metal; they boast a classic rock disposition, while still, ultimately, flexing a modern appeal. There is a thin line between a masterful hook and pandering, and Hyer has found that line and walked it according. He does, however, have the great equalizer at his disposal; the steadfast and groove laden bass work of James Falcon.

If it hasn't hit you to this point, "Vinedresser" is a stark reminder that this is only a three piece band, but with incredible depth of sound. Whether that be attributed to the production work or the songwriting structure, it is impressive on many levels. Speaking to the latter, they forgo the standard verse, bridge, chorus, verse, bridge, lead, chorus, outro pattern in favor of something far more freeing and expansive. While it often leads to unrestrained greatness, it can also go too far outside the lines. While there aren't any specific moments that stand out, "Vinedresser" does make a seven minute run feel equally long. On the contrary, "Etude War Machine" with it's electronic accompaniment, is about as well rounded and firm a track as you can find. This track, in all it's glory, becomes the signature of the album, a combination of intense riffing and a masterful rhythm section. Pritchett and Falcon aren't hear to keep time or provide a beat; they are adding to the mix at every turn. Bookmark the final minute for a reminder of how tightly put together this album is. After a line of longer tracks, the finale is this shortest, the four minute slugfest known as "Venetian Bricks." In what is a long line of guitar driven metal tracks, this is the final argument for how you make such an album without it feeling stilted.

We've all seen that guitar player on stage; the one that puckered his lips, clenches his ass, and moves his fingers faster than your eyes can follow. And by no means are we denying the skill that they display. But what Dan Hyer is doing is on a different plane of talent. Fast and slow, light and heavy, smooth and choppy, Hyer and company can do it all. They form a structure all their own, one that allows for some freelance solo work at times, but isn't rooted in that mindless shredding. His strengths are accentuated, along with those of his bandmates, as they've written songs that further than talents, rather than just spotlight them. There are sure to be many who disagree with the entire premise here; Rolling Stone magazine once listed the likes of Kurt Cobain and Edge from U2 over Randy Rhoades and Van Halen. But if you want to impress with a modern guitar metal album, you have to go beyond solos and hooks, and look deeper into the repertoire. And on "Return To The Point Of Departure," these three musicians have done exactly that. Maybe Mahogany Head Grenade are ready for bigger and better things.

Thursday, October 24, 2013

We've all seen a rainbow. Colorful, bright and happy, they are the symbol of all things positive. But there is an equivalent in the metal community, one devoid of blues, reds, purples, greens, yellows, oranges and all the rest. The black spectrum is all we need to classify some of the best music in the world. But it doesn't all have to be one dimensional, and one note, even for bands in the sludge circles. Formed in July 2008 by four "dudes who needed an excuse to drink beer and play louder," Black Sleep Of Kali are playing a brand of sludge that will resonate with the more debonaire fans of the genre, but it might not make sense to outsiders, who only know sludge by what they see and read online. On the magical world of the internet, any band with distortion can lay claim to the title. But not here. Not now. This four piece, for all the fun they've had, has also forged some of the most refined, well constructed music in modern sludge. After listening to "Who's Hearts Are Faint Within You," it might be time someone told them they don't need an excuse to drink and turn the volume knobs up.

Despite being a predominantly sludge driven band, there are many melodic tendencies that pop up throughout the album. On "Judecca," you really have a two headed monster to contend with. The verse and chorus sections are dominated by the harsh, screaming vocals you would expect. Bottom heavy and distorted, there is no mistaking this for any other form of music. But with the genre of sludge comes the misconception that it is all somehow sloppy, something you won't find evidence of here. The drumming is tight, and the guitar work has seen the rough edges filed off in favor of more distinct riffage. But scattered here and there, you find melodic elements at play, whether it be in a guitar lead or just the way the rhythm section plays. That style can be heard early on in "Morbus," as well. Sure, it's buried for most of the track beneath guitar riffs that could best be described as ominous. But it can never truly be quashed. In fact, the root of the bridge sections can be traced back to that main melody, however faint. It is the drumming that does the lion's share of the work here, with a battery of rolls and fills.

There are more colors in the sludge rainbow than the black and white you've probably been led to believe. Sure, dark and darker are in that spectrum somewhere, but there are probably a bunch of shades of gray tucked in between. No, not 50; probably more than that. Some bands only focus on a few shades, which is what has rendered the sludge genre the one dimensional stereotype of modern metal. But where those bands fail, Black Sleep Of Kali succeed, infusing many other layers of sound into their mix. You won't find a delicate acoustic passage here, nor will be graced with atmospheric or sweeping keyboards; there is no room for that sort of musical accompaniment. What you will find is a four piece who know exactly what sludge means to them, and they play it unapologetically. It would be hard to believe that you could find any two songs in their catalog that are this big, this powerful, and fit this well together. But "Who's Hearts Are Faint Within You," is a new look at the sludge genre.

Wednesday, October 23, 2013

With Ayreon, Arjen
Anthony Lucassen has created some of the most impressive progressive metal
albums of all time. “Actual Fantasy”, “The Universal Migrator” and “01011001”
are my personal favorites. I always felt that some of the albums such as “Into
the Electric Castle” and “The Human Equation” overstayed their welcome. They
just weren’t that interesting. Or it could be the fact that the space themed
albums are what Ayreon succeeds at. Since 1995, Ayreon has been one of those
bands that tries different things and doesn’t always succeed. Wait a minute,
hold it. For those who don’t know, Ayreon is masterminded by Arjen Anthony
Lucassen. Every album has different members and different storylines. Ayreon is
the central character (not for a while though). I’m going to keep referring to
Ayreon has a band in this review, not just one person. Anyway, Ayreon experiments
a lot and most of the time succeeds at creating incredible landscapes of music.
When I first heard the news of a new album in the works, I didn’t know what to
think. Would it go back to the “Actual Fantasy” sound or would it sound like “Into
the Electric Castle” again? Well I was way off. It does go back to the more
organic sound found on “The Human Equation,” but it completely obliterated my
expectations for an Ayreon album. Welcome to “The Theory of Everything.”
Welcome to the future of progressive metal.

“The Theory of Everything” is divided into four movements.
"Phase I: Singularity,” "Phase II: Symmetry,” "Phase III:
Entanglement,” and "Phase IV: Unification.” Each part runs about twenty
minutes and they each have smaller parts that could make up individual tracks.
I like the fact that the songs are long but you can also skip to your favorite
part of the song. Although it’s not recommended to skip through each phase, it’s
just a nice addition. At first listen to this phase, it’s evident that pure
love and care went into this album. There isn’t one misstep or low point on the
entire album. The recurring songs “The Theory of Everything” are all
mind-blowing. Through the album the one basic track keeps evolving until it
ends with “The Theory of Everything part 3” which is one of my personal
favorites on the album. That’s what this entire album does perfectly,
evolution. The album starts and ends the same, so it gives it a full circle
feel, with the middle of it transcending music. This isn’t just musicians
getting together and making something off the top of their heads, this is pure
musical genius that comes from deep within the soul. Tracks like “Potential”
and “Dark Energy” are cleansing for the body and mind. I’ve never felt emotions
like this through music. The album also has heavier tracks like “The Teacher’s
Discovery” and arguably the best rack on the album, “The Lighthouse.” The
variation of this album is outstanding. No song sounds the same but the flow is
immaculate. Not one song is out of place and not one vocal is in the wrong
spot. “The Theory of Everything” is Arjen Anthony Lucassen life’s work rolled
into one album. Nobody does it like him and I don’t think they ever will.

As I’ve said before, Ayreon’s albums have been very uneven. “Into
the Electric Castle” still doesn’t do anything for me. However, I’ve always
been a fan, but now I’m a huge fan. I could go on and on about how
groundbreaking this album really is, but I thought I would stop myself before I
sound like an ass, unless that already happened. But I really don’t care and I’m
not going to avoid the obvious. “The Theory of Everything” is without a doubt
the future of all progressive metal and should act as a blueprint. Again, there
is not one part out of place and not one track is boring. Different genres and
sounds all combine to make something extraordinary. This is more than an album.
It’s emotions, love and passion made into sound waves. “The Theory of
Everything” is as close to perfection as you can get. It’s a master-class album
that will be remembered for years to come and it’ll make bands wish they were
this good.

Tuesday, October 22, 2013

Anyone who has been fortunate enough, or unfortunate enough depending on your viewpoint, to have a pet has surely wondered what goes on in their minds. Cat owners, in particular, have to wonder what kind of plans are being hatched in that furry dome. With their popularity on the rise thanks to the various channels of the internet, it only makes sense that world domination is on the docket each and every day. Leka, a one man progressive death metal project from Finland perpetrated by Juuso Leinonen, has invested a good amount of time into this possibility. And through his melodic death compositions, he has concocted a satirical tale about the rise to power of our furry overlords, and their rule over all of mankind. Roles now reversed, with us as the pets, and them as the owners, a new world order is in place. And with the five tracks of "Catopia," their story will be told for generations to come.

With guest appearances attached to much of the album, not the least of which is the beautiful voice of Elise Karlsson, there are a lot more pieces at play than just one mind. But as "Offering to The Fluffy One" proves, this is no joke. If you aren't bruised and battered by the neverending stream of double kicks and machine gun snares, the high levels of distortion will surely catch up with you. But between savage beatings, Leinonen infuses a healthy amount of avant jazz stylings, something you would never expect here. Their effect is felt, but it cannot derail what is otherwise a blistering assault on the ears. "Hail The Evil" is no different, employing the full armory of weapons at his disposal. As the clean vocals of the verse give way to the explosiveness that follows, Leinonen may have found a perfect storm to sweep you up. Lyrically, the cat has risen, "An ancient evil, older than time itself, worse than the antichrist." The contrast of the early part of the track is not lost here, with that repeated clean passage setting up each subsequent explosion. By track's end, a chorus of voices, clean and harsh, chant together.

More than the other tracks, though, "The End Starts Now" is the perfect mix of metal and satire, with Leinonen crafting a track that is musically diverse, but also punishing when it needs to be. A true album highlight comes just before the two minute mark, as Karlsson and Timo Olkkola duet in a Vaudeville style, one that brings to mind recent works of uneXpect in it's bizarre nature. Once again, the creativity in the lyrics shines through, as Leinonen drops the bombshell line "It's useless, like dolphins, converting to Christianity, with no reason why." The words may poke fun, but the delivery is applause worthy. It would be damn near impossible to pick out a track that stands out more than the others, but the marriage of opposites on "Turncoat" might take the proverbial cake. In the verse, you have a blackened death metal delivery that rivals the best acts in the business; showing once again that satire may be tongue in cheek, but this isn't a gimmick. But you also get a soaring chorus, a dynamic and powerful vocal component. You have the story at your disposal throughout the album, concluding with the aptly titled "The Purge." Every bit of blood and guts that is coming is captured in both the instrumental and the vocals, a terrifying means to an end.

It's no secret that metalheads are notorious for their love of their pets. As I sit writing, I have two sets of eyes fixed on my jugular, waiting for the time to strike. But this project, this work by Juuso Leinonen, has brought together many of the things we hold most dear; our pets, our music, and the crippling fear of being overthrown. It can't be stressed enough that subject matter does not disqualify an album under any circumstances, whether it be about Christianity, Goblins, or even cats. If you can't reconcile the lyrics and themes here, you would be more than welcome to digest what is one of the most intensely successful instrumentals we've heard in recent memory. But adding in the well thought out lyrics and story, you have an album that is something else entirely. Leinonen characterized the album as a "story about cute demonical creatures seizing the control over mankind," and he has done more than enough to get that across to us. But every riff is followed by a sly smile, concluding "Catopia" with the lyric that seals the deal; "It's so fluffy, So fluffy I'm going to die."

Monday, October 21, 2013

You might never see them on a late night talk show, or even hear their name mentioned on any radio or TV broadcast, but that doesn't make Russian Circles any less of a musical revelation. Their work in the post rock and post metal genres has allowed it to take shape over the years, expanding to new reaches with every album. In 2011, they released an album that would have seemed to push the boundaries as far as they could possibly go without fracturing or breaking; they had found clarity in all aspects of the process. They were, in fact, one of the first modern metal acts that proved vocals were a luxury, not a necessity. But when you find that niche, that home amongst your peers and competitors, you never stop moving forward. And some two years later, they've gone even further into the unknown corners of their craft, bringing the art of the music back in earnest. Ad inside their artwork, another eight tracks of expansive, ethereal metal known as "Memorial," you will be reminded of why you loved music in the first place.

While not unheard of in Russian Circles albums past, "Memoriam" takes delicate to new places, softly plucked guitar strings cascading through your speakers with ease and care. But it would be foolish to assume this was a new direction, and the first kick drum in "Deficit" puts your mind at an immediate ease. The drumming here is intensely accurate and abundant in scope. Even with the guitars providing the main melody, it is the drums that are the driving force, be it through a series of toms and snares, or a simple snare build. It also is a constant reminder that small doses of unbridled heaviness can do wonders for the depth of the mix, surprising you by throwing a bit of caution to the wind and mercilessly hammering down from above with a set of monster riffs. But the greatest success in a track like this is always finding your way back to the main street, in this case that almost eerie calm before the storm. It has worked so often in a growing career arc, whether that return comes in the beginning, middle, or end.

In "1777," it is the building from the first note that sets it apart. The intensity is always there, but it comes in and out like the tides; one minute it is a smooth flow, the next it crashes down like waves on the rocks. The melodies are infectious in their simplicity, and memorable in their depth of sound. The outro, as it winds down, is a fitting end. Unlike many other bands in the genre, Russian Circles have always shown a knack for crafting a visual style of music. In "Cheyenne," they make a track that clocks in well over four minutes, and turn it into a crying guitar line that feels like mere moments. Again, it isn't insanely complicated or contrived, but it speaks volumes. It moves you, and moves with you, up through the final fading strings. And yet, a single breath later, and you are knee deep in a song that could certainly be described as having a touch of evil in the mix. It may not be the next Satanic anthem, but there is surely more than a sprinkle of darkness in "Burial," captured so carefully in it's howling guitar leads.

But with another tectonic shift close at hand, you find yourself riding a wave of sheer terror to it's completion, landing you squarely on the soft, coddling "Ethel." It boasts a beautiful post rock atmosphere,a melodic soundscape that builds you up so easily, without even a hint of letting you fall. It lays down the tablecloth and silverware for the final movement, a pair of tracks that couldn't be more different or more the same. "Lebaron" comes first, it's periods of chugging and distorted guitars feel so precise, yet so reckless over the drums. It is, of course, the logical progression of an album with so many logical progressions. But it, in the scale and flow of the album, may be a throwaway, due in large part to what came before, and what comes after. Because while "Ethel" set the table, it is the title track that clears it, without so much as a meal in sight. This collaboration with Chelsea Wolfe, this breathy, airy work that no one outside of the band's inner circle could have seen coming, is as charismatic a tune as you could find, without ever rising above a simmer.

We've delved deep into the world of reconciling musical expectation with musical reality before, to varying results. And the main thing that we, as fans digesting media, forget, is that these albums, this music we hear, is art. Sure, bands would love to sell a few millions albums at a time, and live comfortably as a full time collective of musicians. But the landscape of the music industry has changed so drastically, that that isn't a viable option for rock and metal. This is the genre where, with exceptions, of course, the men and women within our favorite bands can make music to be proud of, to express themselves. Russian Circles have always been high on the short list of groups that need little to no vocal component to say what they choose; their work has done so much for the post-music sub sects of metal. But never before has their voice been so united, so clear, and so well represented as it is on "Memorial." They gently push and pull you along, leading and showing you the way to a different sort of end. And with that collected voice, they say more than ever.

Friday, October 18, 2013

What do you do when your side project is just as good as your main band? Such was the conundrum faced by Jim Kotsis and John Tsiakopoulos, when their newly found Black Soul Horde was coming together. Combining their love of classic heavy metal, the new wave of British heavy metal, and modern melodic metal, this now rounded out five piece are not the embodiment of their artwork. The black figure that stands on the mountaintop might indicate, to the uninitiated masses, that you have stumbled onto the latest folk metal powerhouse from Greece. Alas, friends, this isn't another folk hopeful; but a driving force in the next wave of heavy metal. In the cyclical world of music, everything is bound to come back at some point down the line. Whether you embrace it or ignore it is up to you. Kotsis and Tsiakopoulos have chosen the former, adopting the sound of the many bands that came before them without resulting to mindless hero worship and recycled riffing. As a result, their debut album is a breath of fresh air, with a familiar smell. Young or old, "Tales Of The Ancient Ones" is a battle cry for the very origins of the genre.

It isn't a stretch to hear a lot of classic metal sounds on "Let The Valkyrs Ride," which would seem to be the natural intention. From the driving riffs to the battery of drums that flank them, it takes you back to a different point on the metal timeline. The drums gallop ahead, like a horse into battle. But this isn't a contrived take on folk metal; vocalist Kotsis wails over the top of it all, his voice capturing the old meets new ideology. He pushes his vocal limits at times, hitting the high side of his register. But his counterpart, guitarist Tsiakopoulos never seems to reach the end of his talents. The speed and accuracy in the opening to "Reborn In Fire And Blood" is not to be trifled with. Joining in lock step with his rhythm section, Tsiakopoulos sets the tone. That tone, break neck and intense, is mirrored in everything the band does here. You may not find miles of depth here, but what they lack in subtlety, they more than make up in chemistry. Tracks like "Hour Of The Dragon" are the prime example of a band in their comfort zone. Additional vocal harmonies do wonders for Kotsis, while the rhythm section of drummer Jim Zafiropoulos and bassist Stelios Dogas flex their collected muscles time and time again. Perhaps the most fitting piece of nostalgia comes in the form of "Demonon Tagmata" which combines all of the things we loved about metal in the formative days; you can hear Iron Maiden, Black Sabbath, and Judas Priest here, reaching out from the past, surrounded by wave after wave of catchy riffs and memorable hooks.

More than any other, though, "Ancestor Of The Ancient Gods" is a song that goes above and beyond the call of duty. Kotsis hits a groove both vocally and lyrically, adopting a more dynamic melodic style that would surely incite more than a few lighters to go up. Make no mistake; there is not a ballad anywhere it sight. Instead they balance melody and driving riffs in one arching track. If one must find any fault here, it is in the length of the track, clocking in over six minutes long. By no means is it padded out with filler, but Black Soul Horde operate most efficiently in shorter bursts, like the one on "Horns Of War (Evermore)." The energy hits a high, and the band throws caution to the wind in favor of another driving anthem. Kotsis, despite a shaky beginning, has seen his voice grow over the course of the album, now commanding the room like never before. As a result, Tsiakopoulos has the freedom to unleash a flurry of deft fretwork. I would be remiss in failing to mention rhythm guitarist Costas Papaspyrou, who holds down the fort when his counterpart goes wandering. There is a great deal of Ozzy Osbourne influence to be found on "Coming Home (Call Of Gaia)," a real platform for Dogas to work some much deserved bass magic. His work, along with the dueling guitars, are just as expressive and rich as the vocal lines. That notion is the real victory of the latter half of the album, especially the finale track, "The Light." It leaves a lasting impression, an epic portrait of a band who knows exactly what they are, and what they can do. One last dazzling melodic passage and you cruise to a dramatic finish.

Most of us aren't fortunate or talents enough to have one band that people would want to hear. Kotsis and Tsiakopoulos, thanks to their talents and drive, now have two. There are a lot of different elements at play on this album, most of which would sound familiar to anyone who has delved into the history of metal. But their familiarity doesn't mean they are overused, or even past their prime. Black Soul Horde have taken hints from the past, and used them to piece together the puzzles of the modern age. For every bit of influence you hear in the riffs, in the varied and balanced vocals, you hear just as much of the new school of musical thought. That isn't to say that this is a perfect blend of the two, or the best you'll hear from this band. There are kinks to be worked out here and there, mainly in the evenness of the mix; balance isn't true balance if the levels aren't spot on. But outside of that, you have an album that is catchy, high octane, and ready to roll. Throw out the artwork, throw out the name; Black Soul Horde is modern classic metal without a hint of irony or cliche. And that is a recipe for success.

Thursday, October 17, 2013

For the mere mortal bands, the ones who have not fully embraced the rocky road known as a career in the music industry, one album every few years might be enough. A consistent schedule of touring and album release, followed by downtime to accept accolades and praise. But for the true iron men, it's never enough. After lying dormant for five years, Cult Of Luna awoke from their self induced slumber to tell the tale of a city on the verge of ruin. The first installment of the "Vertikal" series was a revelation; they managed to capture the desolation and class struggle of a futuristic city in mere beats and notes. How they did it is anyone's guess. But the story wasn't finished, and the band had more to tell. The second part, recorded during the same sessions, may not match the first in length. But what it does is bring the story to a neatly wrapped conclusion without losing any of the blustery energy and rough around the edges style that the first was so high on. Their second offering this year, and a stunning means to an end, "Vertikal II" is tension incarnate.

Ominous and somewhat haunting tones, which were plentiful on the first installment, become a key component early in the second. Despite the mechanical nature that "O R O" brings to the table, it feels natural; the swaying vocal melodies don't come off as manufactured. But that same sense of foreboding and despair rings true throughout, from the vocals to the echoing cry of guitars. It isn't until almost five minutes in that the teeth of the track emerge, a set of calloused screams cutting through the ambient energy. What was a minimalist approach becomes a grating, metal on metal cry for reason. One look at the waveform for "Light Chaser," the beautiful upward slope of sound, and you begin to fully appreciate the approach here. A repeated guitar melody is the lead, in a sense, but the relationship between light and dark is the true star. The clarity with which each instrumental piece is delivered provides one half of the equation, while a fragmented screamed vocal supplies the other. They would thrive perfectly on their own; but together, they are an exercise in the harsh arts. By track's end, the overwhelming distortion engulfs all. The longest, and not coincidentally most complete, track on the album, the twelve minute "Shun The Mask" is an apt conclusion to this musical venture. It rises and falls, exploring both the crushing blows of percussion and voice, and the moving joining of melody and ambient sounds. As the drums fade in for the final assault, nearly nine minutes in, no one could prepare themselves for the terror of those blood curdling screams.

There is a danger in being so prolific; if your second is not as well received as your first, fans and critics will wonder why more time wasn't taken to perfect the pieces of the puzzle. Cult Of Luna knew the risks before they slapped the labels on the EP, and they felt strongly enough about the material present to go ahead. Looking back, there is not one reason to think they shouldn't have. On music alone, "Vertikal II" is every bit as terrifying as it's predecessor. They, once again, put class struggles and city struggles onto recorded media in the most profound of ways. But the most impressive aspect in the series is the way they take hopelessness and despair, and translate it into a series of riffs and drum patterns. I, much like many of you, have not passed the Rosetta Stone lessons necessary to make this leap from emotion to musical language, nor will I ever truly be able to decipher the subtleties and nuances. But here, on the second half of a milestone in modern metal, it doesn't matter. Cult Of Luna have done the work for you.

Wednesday, October 16, 2013

Space themed power metal has always been a cherished
treasure for me. Being a fan of sci-fi, space metal is a no-brainer and bands
like Ayreon just excel at it. It’s been a while since I’ve heard good metal in
the same vein. Well, that is until now. On their third album, Assignment
creates a well written and epic album. Does it borrow from other bands? Sure it
does, but that doesn’t make it bad. The influence from Ayreon is present, but
it doesn’t make them sound like a rip off. They add enough of their own style
to break away from being called an imitator. On “Inside of the Machine,” Assignment
is more focused and skilled than ever before.

The album opens up with “Upload the System” which couldn’t
be more perfect of an album opener. The instruments have a mysterious sound and
the choirs give the song an extra push that lays the road down for the journey
ahead. “The Intrusion” has a very Symphony X vibe to it and is a perfect
continuation of the opening track. “I am the Machine” and “Resistance” continue
the progressive flow with “Resistance” having some really impressive keyboard
and guitar work. “Love Between Heaven and Hell” is a decent song that sort of
misses the mark. It tries to be an emotional ballad, and while it does succeed
in certain aspects, it ultimately falls flat. “The Betrayal” is another low
point on the album that can be skipped. It doesn’t do anything that hasn’t been
done on the past few tracks. “Messiah’s Fall” brings the album back on track
complete with great vocals and spot on musicianship. “Ending Love” is one of
the best tracks on the album, hands down. The keyboard intro leads into an
awesome riff and the transition couldn’t be more perfect. The chorus is also
one of the best on the album. “Another Sacrifice” has a crazy keyboard outro
that has to be heard to believed. “Walk Alone” and “Eternal Silence” are tied
for best track on the album. Both are incredibly well done and have some really
impressive guitar work. If I had to choose though, I’d go with “Eternal Silence.”
It’s the track where everything comes together in a complete package that won’t
be forgotten. “Bug in the System” is a perfect instrumental bridge between “Eternal
Silence” and the closing track, “End of the Machine.” The closing track doesn’t
do anything new and it’s not quite as good as the last couple of tracks, but it
does end the album well.

“Inside of the Machine” isn’t a perfect album, but it’s damn
good. The few missteps it takes are made up by the sheer variety the other
songs offer. There are so many different styles of music crammed into one
album, and that is a hard feat to pull off for any band. Assignment knows how
make an album that really feels like one big idea. The songs never stray from
the general sound and everything has its place. As I’ve said before, the
musicianship is outstanding. Some of the best sounds this year. “Inside of the
Machine” is a fantastic album that might give Ayreon’s new one a run for its
money. Fans of progressive space metal, rejoice. Your album has arrived.

Tuesday, October 15, 2013

The concept of a split might still be foreign to most people; it isn't a new process, but it is far from mainstream. However one may come about - be it by the collected minds of the bands, a label, or just a compilation - there have been some interesting collaborations in the past. But when you see the names of Aylwin and Černá on the same disc, you are getting two of the brightest stars and most talented musicians in the new wave of black metal sub sects. Aylwin, on one hand, stays true to the genre, opting for the rough recording and machine gun drums that have made it a cult favorite for decades. Černá, a one man project that, by our count, has one of the best albums of the year in "Restoring Life," is a example of finesse in the face of brutality, combining the old and new schools of thought. Separately, they are at the top of their respective scenes. Together, you have roughly twenty five minutes of varying and eclectic metal that is sure to be a testament for the future of the genre.

Aylwin's contribution to the split begins with the most subtle of beginnings. Strummed acoustic guitars only last so long before the raw black metal sound pours through your headphones to unsuspecting ears. As harsh as the sound may be, it is also somehow refined, even containing a melody hidden just below the surface. It is organized chaos, with crushing blows coming at every turn. But when the tempo is dialed back, even in short doses, it does wonders for the mood. There is something somber, yet reassuring in the opening to "Always And Forever;" the combination of chords and plucked strings sets the table perfectly for the crying guitar that dominates the latter half. Snares drums snap down in rapid succession, a true black metal tenet. But the soulful guitar solo that launches the final minute is anything but traditional. The minute long interlude, "Pale Watcher," is enchanting in it's own right, a fragile piece of clean guitar work. As it fades, the rumble of distortion returns, with two layers of guitars fighting for space with a massive drum sound on "The Taste Of Lips." Every passage is more intense than the last, bolstered further by the clean vocal presence of Michael Korchonnoff. It seems almost unreal how much his voice impacts the sound, but as the second half comes, it all falls into place. The cleanest of outros, for the most emotional finish.

Needing only one track of his own to be felt, Černá mainman Cody McCoy uses his entire arsenal in his effort. The ease with which he crafts the intro to "Zavis; Lost" is phenomenal, floating through an acoustic piece. But his talents don't end there, as we well know. The crisp mix accentuates all of the flourishes of sound, from the drums to the multiple layers of melodic guitars. The balance between distortion and melody is one that is barely attainable, but rewarding. By using a spoken word portion, this particular one talking about the dangers of addiction, he adds another level of meaning to the track. He uses his creativity to his musical advantage, surrounding himself with more and more depth of sound. The soundscapes created here are incredibly detailed, with seemingly more layers than one could count at any one time. But whether or not you find meaning in the full circle finish is key. The track winds down, returning back to the simple clean guitars for which it came.

If you're out and about, wandering through your favorite record store, and you happen to see a split LP by one of your favorite artists, pick it up. Take a long look at what's there. A b-side? Unreleased? Acoustic? Chances are, it'd be more than worth the money to hear it. Aylwin and Černá are more than capable of putting out discs on their own; Aylwin alone has been a part or the whole of four releases in the last twelve months. But in this format, they can lend each other a helping hand, giving the audiences of one to hear the other. And with the advent of the internet, which occupies most of the word of mouth sect of music sales, that chance is invaluable. They are giving the fans what they want, that being new music, without making them waiting a year, two years, three years for another full length. Four tracks from one, one track from the other, and we have an EP length release that stands up to a lot of the full lengths released this year. And more than anything else, we've had a chance to see the best and brightest of modern blackened metal, toe to toe. Two for the price of one? You can't beat that.

Monday, October 14, 2013

It's no secret that a degree in musical theory has never been a prerequisite for enjoying and dissecting music. Any band or album that would require such a stunt isn't worth your efforts. With that in mind, there are bands that can be enjoyed regardless of your preferences or prejudices. No, there is not a band, not a single one, that is universally loved. Don't even try. But bands can transcend their genre in such a way as to welcome people who would otherwise be outsiders into the fold. With their debut album, Italy's Australasia quickly asserted themselves as one of those acts, blending together the silky smooth and atmospheric qualities of post rock with the more intense and blaring side of post metal. With that release, titled "Sin4tr4," we likened their sound to a red dyed ice cube melting into a glass of crystal clear water. But was it the metal that tinged the rock, or the opposite? Only a year later, an answer may actually be found. On their new album, a ten track, thirty minute piece called "Vertebra," the overall arc of their sound begins to take shape; and as the ice cube fully melts, you have a drink as sweet and balanced as any you've ever had.

An opening track like "Aorta" works on so many levels, but the key is that it grows organically. It doesn't insist that you listen, but gives you every reason to. The light, melodic notes are fuel for the fire, an initial blast of drum and bass that while explosive in their own right, are subtly smooth. By the time the ethereal female vocals come through with chanting grace, you've already been exposed to what you thought was the complete spectrum of sounds at the bands disposal. However wrong you may have been, the boundaries here are endless, as a song like "Vostok" is quick to prove. Electronically tinged, yet heavily rooted in the layering of guitars, it beautifully constructed from start to finish. Even the kick drum has a sound all it's own here, a rousing thud unlike others you've heard. It isn't a punch to the face; it is a poke in the ribs to remind you it exists. From clean outro to thumping intro, "Zero" bends your perception again. Bass work is key here, driving the low register and elevating the high. Without that element, that firmly planted strength, the chorus of tingling bells that follows would seem flat. The end result would be a track derailed, never realizing the crushing blackened potential it boasts by the latter half.

Instead, it transitions from one to the other, and creates a stunning contrast with "Aura." You would be hard pressed to find something more soothing, more intricately constructed, and more simply beautiful than this. It is an interlude, of sorts, but one that maintains it's own identity. What it also creates is a freedom to go in any direction. A track like "Antenna" radiates outwards, starting from humble beginnings and growing into something larger than life. It is in tracks like this that the best work is done, flowing seamlessly from quiet to loud, soft to heavy, without so much as a hiccup. It is a formula that was used on "Sin4tr4," albeit in sparing ways. But it has grown into a different animal here, and songs like "Volume" only feed that beast. Instead of a trade-off, it becomes a fusion. Hidden between the layers of booming kicks and a rumbling bass line are delicate and whispered bells and cymbals. The two come together, but not in a way that leaves one with power over the other. They work together, accentuating the strengths of the other. The title track, however, focuses on the sublime. Because while "Vertebra" is a strong statement, it does so without the aid of an ounce of distortion. Instead, it utilizes chirping birds and clean guitars to accomplish it's goal.

In moments like this, the transition from previous to next, that you realize you are witnessing a double edged sword; the difference being this is the type of sword you've waited for. It cuts you from both ends, sharp or smooth. When a song like "Apnea," with electronic beats and heavenly chanted "ooo" and "ahhh" segments can cut to the heart of you with ease, it's time to admit you are witness to something unlike the daily grind. It catches you off guard, if only slightly, and makes you begin to question your own stability. But with you now rocked back on your heels, it would take only the slightest breeze to knock you over. And at that moment, "Deficit" kicks in. It marches in like the proverbial lion, cascading cymbals and snares over you. But as it progresses, it starts to change and evolve into the lamb. The way it gently fades out seems a far cry from the stomp it entered with. But, as with everything on the album, it wouldn't work any other way. For as one track ends, the next begins. And with the chorus of thunder and rain drops, "Cinema" earns it's name. You'll find your own imagery here; whether it be the view from your attic window into a rainy afternoon, or the path through a now orange-leafed wood. That personal attachment you find is what makes the track so unique, and yet so easily identifiable.

Words are just words. It's hard to use verbiage to truly communicate sound and emotion. When you sit down and listen to the music of Australasia, a lot of words will come to mind, and a lot of those will be variations of the same thing. Beautiful. Glowing. Stunning. Mesmerizing. But as much as those words make sense, they simply don't go far enough. This band is making music as an art form, as an expression of themselves. And their success, while relying completely on you to relate, is never in doubt. If you choose to spend your time trying to answer the only question that remains when the album ends, whether this is a rock album with metal influences, or a metal album with rock tendencies, you will waste a whole lot of time, and never come to an answer. And the fact of the matter is that it simply doesn't matter. Rock, metal, jazz, electronic, or any other musical genre you can name are probably present here, no one more important than any other. On "Sin4tr4," the ice cube had just begun to melt; on "Vertebra," it has melted, mixed, and given you every reason to think you found perfection.

Friday, October 11, 2013

A rhetorical question: can an album give you exactly what you expected, and still be great? Has our musical pallet become so refined that we have to hear groundbreaking elements on each and every album just to enjoy them? You can speak for yourself, of course. But somehow, bands like Woodwall are speaking for all of us. We've heard stoner metal and doom, psychedelic metal and post; not every band can spark a change in those genres. But doing those things well, and really well at that, is just as impressive as changing the way we hear them. This Italian four piece are doing just that, taking their hazy sound on the road with a new album that is both the same old thing, and the same new thing in one. They are the personification of your favorite bar, clouded with the smoke of a thousand cigarettes, yet every puff is greeted by a breath of fresh air behind it. On this album, simply titled "WoodEmpire," they don't break new ground or tread too heavily on old ground, but tip toe through all the things that make these varying metal styles great. And the result won't surprise you; or maybe it will.

While it isn't a fast and furious start to the album, the smokey undertones that coat the opening to the title track, "WoodEmpire," are no mistake. They are hazy and clouded by design, something that quickly becomes the common thread in the album. Each crunching groove, furnished by guitarist Matteo Signanini, travels through a wall of pure distortion to reach it's intended goal. For his part, he not only delivers the central melodies, but his raspy, distant voice ties those pieces together. While it seems, at times, to be chaotic and unfocused, it is quite the opposite. It may meander in certain passages, as it does around the seven minute mark, but it always makes its way back to the mainline. At this stage, it is the shifting between songs that brings it back to Earth, as "Locrian" makes oddly great use of the keyboard element. By adding that slightly spacey sound just behind the guitars and bass, it gives great depth of sound to the mix, completed by a crisp drum sound at the hands and feet of Pietro Groppi. This is a far more driving track than the last, uptempo and pounding. It clearly suits the band well, as they are at their best here. Signanini's voice takes on an airy nature, one that is as melodic as it is exacerbating. But it is "King Stuste" that will leave the biggest impression, a headbobber's dream come true. The short three minute burst has all the pieces in the right places, leading to a maniacal stomp that only a musical prude could resist. A guitar lead like this one could unite enemies and friends under one banner.

The unsung hero of the stoner genre, and most musical styles, is the bass player. But Massimo Cornali's impact can be heard loud and clear throughout the album, adding his personal touch to the opening of "Red Toad." By nailing down the low end, in combination with Groppi, he makes a three minute instrumental all the more dynamic. This leaves the ultimate sound of the album, the way it sticks in your mind afterwards, to the wild card; synth master Paolo Cipolla might not have the biggest role, but his contributions are as important as any. The light touches he places so carefully throughout the album are crucial, if not completely necessary. But his command on the towering "Walden" is utterly essential. This track, more than any other on the album, speakers well beyond it's run time. The airy atmospherics, musically and vocally, are perfected here, and the band shifts their sound to a completely new level. For some, it may be hard to believe you've been listening to the same band as before; the change is a big one. It speaks to their ability to grow within the confines of an album, and each member has a hand in that. Signanini gives his best performance on both guitar and vocal, and drummer Groppi is as crisp as possible. The only failure here is that the track has to end. Back to their crushing riffs and boisterous drums, the band ends on a high note, "Holocene/Cambrian," though not as high as the note it began on. It's a more melodic take on sludge, confident and bottom heavy as it is. This is a track meant to be heard live, igniting a mosh pit and a crowd of hands in the air.

Let's revisit that not so rhetorical question; can an album give you exactly what you expected, and still be great? There are a million different answers you could give, and none of them would really affect the way you view this album. Woodwall are doing things you'll recognize, at a skill level that makes them sound as good as the first time you heard them. It's a victory that should be celebrated for it's quality, rather than whether it's shiny and new. Because even with the wear and tear on the sludge and stoner genres, there is still a lot of mileage left on those tires. More than that, though, is the notion that when you are good at something, old or new, you can make it work for you. Woodwall are doing exactly that, to a degree that should confound you. The beats are punchy, the rhythms are tight, and the vocals are a snug fit. If you're willing to take a step back and appreciate something for what it is, "WoodEmpire" is an album you'll go back to again and again. If you've evolved beyond that point where music has to be groundbreaking and innovative to give you any sort of satisfaction or enjoyment; it's going to be a lonely place to be.

Thursday, October 10, 2013

It's never easy to separate inspiration from the finished product. Like the Norwegian black metal bands who stand so defiantly against the presence of Christianity in their country, we can choose to embrace or deny their motives and beliefs. But it isn't always religious and political extremism that we must separate; for those who do not belong to the church in any capacity, even something as harmless as a love of your God of choice might be difficult to swallow. And despite what stereotypes may indicate, there are a growing number of metal bands, probably in the millions, that use their love of God as inspiration for their own music. The Monarch, a one man project from Vancouver, is not one that will hide what the inspirations for the name and the music came from. Jesse Janzen has seen his work garner praise from Catholic and Atheist alike, something that should, if nothing else, prove that the power of music is a great one. On his new EP, "World Without End," Janzen offers every fan the chance to "join the waves and scream your praise." Embrace or ignore the message, the music is worth the effort.

The haunting hum of "The sky rolled back like a scroll" could never been more fitting, as if rolling back to unveil the album to come. The symbolism is not wasting here, the whine of strings calling out. But it is merely the opening, allowing "Before the Throne (a multitude without number clothed in white)" to grow right before your eyes. With each fading guitar chord and subsequent crack of cymbals, it grows. But the real surprise comes in the first explosive sludge passage, seeing Janzen scream over the top of a down tuned distorted guitar. The subtle melodies, sometimes too subtle, are coated in a thin layer of screaming guitar, hammered home with each single snare hit and plucked bass string. It's in these moments, the transitions from screams to serene that Janzen best expresses himself. His versatility, though, shines brightest on "Endless Rest," a track that rises from solemn piano keys. It's beauty is in it's unwavering simplicity, but also in the fact that is unapologetically mellow. It is the final track, however, that is the most difficult to digest. On "For a thousand years (I will lay my face on the ground before Thee)," Janzen wears his heart on his sleeve, leaving behind the understated instrumental, and crooning softly over a more progressive one. It is also here that his religious dedication comes through clearest.

We are all adults; at least that is what I would like you to believe. So, being adults, we should easily be able to separate our beliefs from music. We know that listening to black metal doesn't make you a Satanist, or listening to death metal doesn't make you a murderer. Music is art. It's with that assertion that we can enjoy what Janzen is doing with The Monarch project and name, giving us something more than the stereotypical Christian rock. Sure, a heavy dose of distortion can go a long way to mask that. But Janzen doesn't cover up his beliefs with a few extra notches of reverb, or even an extra heavy scream chorus. He lets it come through without fail, without any desire to muffle it. And if your own religious views mirror those of Janzen, that adds an extra layer to this album that you can identify with. But should you be Atheist, agnostic, Buddhist, Jewish, or any of the other religious affiliations, don't turn away from it so quickly. In the first three tracks alone, you'll find a great deal of depth. If you can put aside your own prejudices, for twenty some odd minutes, "World Without End" is worth an open mind.

Wednesday, October 9, 2013

The floodgate for great power metal seems to still be open. Again we bring our focus back to Italy which is becoming the leading country for power metal. With their debut album “Lost Eden," Altair creates a fantastic new world with great melodies and musicianship. It reminds me of the early albums of Rhapsody of Fire with a touch of Stratovarius. Altair doesn’t really create anything new, but they do take the formula and run with it. They know exactly what they want to achieve and they succeed. This is without a doubt one of the best power metal albums this year.

Right when the album opens up with “Prelude," the listener is transported to a mystical land that is full of mystery and wonder. “Power of the Gods” is the archetypal power metal song complete with blazing guitars and soaring vocals. What sets it apart is the songwriting and how Altair can make a song that actually creates a vivid image in your head. Every instrument and vocal line is perfectly intertwined to create one hell of a song. “Reaching the Dreams” continues the flow from the last two tracks and delivers another winner. It’s melodic as hell and has another great chorus. Simone Mala is an unsung hero of power metal. His range is fantastic and he fits flawlessly with the music. “Fly Away” starts with a riff that sounds like it belongs on Stratovarius’ “Fourth Dimension” which isn’t a bad thing. The chorus in “Fly Away” is one of the best on the album and the rest of the track is pure power metal glory. The guitar solo is very impressive. “The title track, “Lost Eden,” takes the album into a more progressive groove in the intro before having a huge, beautiful chorus. It’s another highlight on the album that continues the flow going. “Freedom is the Key” slows the album down a little. This is the only track on the album that could have had some benefits from being a little shorter. The mood is perfect as is the placement but it just seems to drag on and it doesn’t really go anywhere. “Wind of Changes” brings the speed back up to full throttle and is another great song. The chorus is the absolute best on the album. It’s thought provoking and it’s full of wonder. “Rise to the Moon” is the longest track on the album and it’s full of fantastic tempo changes and guitar work. It’s the most progressive and complex song on the album and also the best. The keyboard is a real standout. “Redemption” is a great closing track that ends the album on an extremely high and epic note. On a side note, the acoustic version of “Wind of Changes” is an incredible version of the song.

“Lost Eden” is everything power metal fans would expect out of an album. It has killer guitar work, killer vocals and a ballad. The world that Altair has created with this album is unparalleled. The album is full of wonder and mystery and begs to be listened to more than once. Every instrument is played with great talent and the songwriting skills rival bands that have been around for twenty years. It’s quite clear that every band member put one hundred percent into their instruments and that they play with a fiery passion for great metal. “Lost Eden” is another great album to come out of Italy and one of the best this year. Altair created something that just might make other bands in the genre shake in their boots. Listen to this now, you won’t regret it.

Tuesday, October 8, 2013

The life cycle of a band is much like that of a human being; we are born, naive and innocent. We grow up, learning how to manage our lives and skills. Then, at some point down the mysterious road, we die. So, too, do our bands, good and bad. But the key difference, and perhaps only difference, is the ability for a band to return to those infant stages and reinvent themselves. Avelion, having earned their toddler steps on their first EP, "Cold Embrace," stripped down and returned to the womb last year in hopes of forging a new identity. But in that second pass at birth, they gave up everything they had done on that album, and gave back any and all genre tagging as a result. Now, with five new members and a sound that is a far cry from where they stood two years ago, it is hard to imagine this band is even the same collection of minds anymore. But with the same name on the cover, and a new vision attached to it, success isn't immediate or even guaranteed. Because while "Liquid Breathing" signals a return to infancy, the music doesn't quite seem like it had enough time to gestate and evolve into it's final form.

As the title track leads things off, there is a noticeable difference in sound and structure. Gone are the soaring vocal passages and fluttering keyboard melodies, replaced by djent inspired guitars and airy synthesizers. The newly found electronic edge suits the track well, but lacks that unique quality. With each chugging movement, vocalist William Verderi uses his breathy, lower register tone to deliver what could be dubbed as a futuristic vibe. It isn't until the final minute of the track that we get the first full explosion, an eruption of growled vocals and unrestrained keys. Having established the electronic undertones, "Ain't No Down" only furthers that cause. Break beats and borderline rap vocals in the verse stand out, and your perception of them determines for what reason. While it remains a smooth transition in and out of melodic djent, those cut aways are less successful here, minus a great use of clean piano keys that provide a haunting backdrop. It fails to mix with the foreground in any meaningful way, even with a solid performance from drummer Damiano Gualtieri. Everything comes full circle in the final track, perhaps finding balance between melody and beat inspired mayhem. It isn't that "Mechanical Faces" is the best track on the EP; it can come off as slightly contrived. But it does house some of the best individual performances, particularly on chorus vocals and keys. But lost as a result is the identity of the band, falling into the trap of anonymity.

Major lineup changes are sure to alter the sound and direction of a band. But keeping the same name may be doing members, current and previous, a disservice. Avelion had begun to forge an identity two years ago, carving out a niche in the progressive metal genre that gave them a great deal of promise. But now, having replaced nearly every piece in the puzzle, they are left to try to figure out a way to make those oddly shaped parts fit together in a cohesive way, something that seem to struggle with on this EP. Perhaps it is more in the expectation that comes along with the name (like when every Metallica fan heard "Lulu"), but there is something missing here that can't be fabricated. By no means is this the end; as we said some two years ago, with time, Avelion may grow and develop into a band for the discerning masses. But having started over, they have stunted that process, and found themselves at the beginning. Much like the birth the title references, "Liquid Breathing" is in it's gestation period, with a long way to go until it's ready for the world.

Monday, October 7, 2013

There is some degree of pride involved in listening to a band before they make their big splash. We are all metal hipsters at heart, really. Yet there is that lingering part of us that wants our favorite underground bands to make it big; whether that be for their own good, or just so we can utter those words, "I liked them before they were big." Regardless of the reason, the time always seems imminent. As Autumn Calls have done everything right thus far, enough at all to have garnered themselves more attention than their Facebook following would indicate. They are as musically diverse as any and all in the doom sphere, adding new meaning to the atmospheric front of the genre. For more than two years, we've sat and eagerly awaited their next move, a long worked on and advertised follow up to the masterpiece that was "An Autumn Departure." Finally, Canada's answer to their own pop music transgressions has arrived. Was it worth the wait? Maybe "Cold, Black & Everlasting" will be that breakthrough we've waited for; and they deserve.

It seems fitting, at least, that the piano intro to "Haunting" not only begins the album on a chilling note, but also bring to life the album artwork itself. The distortion heavy verse sections would be more than enough to pull in the most discerning listener, but it is the shifting acoustic passages that do the most powerful work. For every point, a counter point. For every grating growled vocal, a clean one. It's contrast at it's best, an exercise in melodic sensibility and creativity. Those moments aren't limited to vocals, however; they extend to the leads, as well, a single thread that runs throughout the nearly eleven minute track. It is worth noting than the time in which the album was constructed, a period of two years, has led to tremendous growth in every aspect of their sound. The clean vocals on "Black Night Silent" are moving and refined, laid ever so gently atop a whining guitar lead. This is time for the rhythm section to shine, managing to still maintain a level of heaviness, even in down tempo times. By now means is an explosion out of the question; it comes in the latter half, blasting kick drums welcoming back a deep growl. It is the start of something bigger.

"These Doleful Shades," for all twelve minutes of it's reign, is as masterful a doom track as we've heard to date. It nails down the balance between airy atmospherics and downtrodden gloom, while somehow never letting go of the melodic silver lining. It feels effortless, the transitions from woeful to blaring and intimidating. The last third of the track sees the band take a darker turn, inflicting their own brand of pain onto the listener with an onslaught of drums and unbridled screams. There is something to be said about an album following a central theme, and this album does that with tremendous subtlety and skill. Everything ties back into that artwork, with "The Light That No Longer Shines" keeping that dark wooded scene fresh in your mind. The song has a quality that is difficult to voice, one that allows you to sway with the beat, without becoming predictable and one dimensional. No one element dominates the others, as they come together in a beautiful, albeit fractured harmony. It's impact, as a result, grows in leaps and bounds. The last distorted notes fade, pulling you along with them into a momentary silence.

The final series of tracks, all rooted in the darkness, are easily lumped together. By no means does this mean a lack of diversity between them; quite to the contrary, they merely share a common theme. "Darkness Reflected" has one of the more intoxicating melodies on the album, despite finding itself in a sea of ringing distortion. But as it emerges just after the two minute mark, the band hits a chord here that rings true. Simplicity reigns supreme, delivering something digestible, repeatable, and wholly impressive. It reminds as that the shortest track on the album doesn't have to be bereft of depth. The outro alone is a defining moment. Having been reflected, the darkness is now confined in the second piece of the trilogy, returning to the beautiful melodic roots in the opening. Lightly strummed acoustic strings blend so well with the single electrified lead, something few bands have managed to truly perfect. But here the clean bolsters the distorted and vice versa. And once again, there is a dynamic shift for the closing minute, one that ignites the fire before the finale. And as the closing track, "Darkness Everlasting" is everything you would expect from a band at the cusp of greatness. They hit their most emotionally charged notes here, both in the acoustic and vocal capacities. It reinforces the personal investment made by the band, and passed along to the listener through a series of clouded guitars, drums, and lyrics.

Perhaps one day, we will be the one to determine if and when a band has "made it." It would be both an honor and a horror for you and I both. But until that day, we can merely express an opinion. We weigh the pros and cons of each and every album, looking for a way to quantify it. And As Autumn Calls have made that part of the process truly easy. Over the last 25 months, they not only grown as a band, but their music has grown in so many facets, that it is nearly impossible to list them all here. Notably, they have found themselves in rarefied air; they have reached a nirvana, of sorts, that allows them to combine clean and dirty in a way that just works. The scales are not tipped in one direction or the other; instead, they are perfectly balanced, steadfast and solid. But at no point do you know exactly what will come next. You might get a long, clean passage. Or it might be immediately dashed by a rousing break. You don't know when, or even if, it will come, but it is there, lingering, looking over your shoulder. Whatever your pleasure, you'll find it on "Cold, Black & Everlasting." And let we, the staff at Sorrow Eternal, be the first to declare that Canada's As Autumn Calls have new album; and they have made it.

Friday, October 4, 2013

In the long tradition of keyboard based metal, there has always been the need for a keyboardist that is both transcendent and creative beyond the norm. Without that visionary effort or talent, it is difficult to achieve top level results. Vivien Lalu is the kind of talent you search for; but he isn't a hired gun. His full band project, Lalu, is progressive at heart, but with so many tangential elements at play, that it becomes difficult to put your finger on exactly what they are. With marginally big names attached, both in regular and guest roles, Lalu has surrounded himself with top level talent, attempting to make an album that lives up to their 2005 debut, "Oniric Metal." But what he has done here is dig a talent pool so deep, so dense, that it would be difficult not to release a masterpiece of some kind. As a result, the sophomore slump is no worry, and "Atomic Ark" is a well conceived, well produced, and well executed taken on progressive metal that is as prolific as the name it bears.

You'd have a hard time ignoring the early onset groove of "Greed," nor should you try to. Forming the backbone of the mix, guitarist Simone Mularoni may fill the rhythm role more often than the lead, but he does so in a way that is driving. The verse sections take a simplistic approach, while the tempo and intensity kicks up on the chorus, with vocalist Martin Lemar tasked with the none too easy job of completing the chain. His voice may not grab headlines, but he fits the bill here, providing an airy element to the mix. More pressing is the duel between Mularonia and Lalu himself, trading blows in a combination solo. That dynamic comes into play frequently, with tracks like "War On Animals" allowing the two to coexist in a way that makes them both stronger. The subtle intricacies that you'll find buried beneath the surface make the song that much better, whether they be the smoothness of the bass line, courtesy of the familiar Mike LePond, or the way Lemar bends his voice to fit into tight spaces. The shifts in spotlight are as numerous as the tracks themselves, and "Tatonka" sees Lalu splitting the main focus with drummer Virgil Donati. His bombastic style does wonders in the heavier segments, while his precision is key when the clean guitars take the lead. Lalu takes the refined approach, adding a layer of piano keys that dazzle as much as they shine..

The short but intensely sweet "Mirror Prison" is a ballad by definition, yet it extends beyond that word. Lemar's goes high and low, trembling along the way. The soft picking of clean guitars creates a mood that matches his tone magnificently, as a gently atmospheric keyboards glide you to the finish, and into "Deep Blue." They become parts of the same whole, almost as if one is the appetizer, and the other the main course. With the entree, you might not rise above a low simmer but thanks to the marvelous cohesion between all the pieces, it feels complete. Donati's input, in particular, does a tremendous amount of leg work here. More than how it sounds, though, is how it fits into the scope of the album; that is to say it is a fitting transition. Turning to the more avant garde side, "Bast" is an album highlight, thanks to the varied and ethnically tinged instrumentals. Mularoni hits the chugging passages with a delicate sense of timing, while Lemar soars over the top, only to come crashing back with a series of unexpected screams. The track culminates with a winding, chaotic guitar, drum, bass assault. But where "Momento" begins couldn't be farther away, a beautiful melody that rises and falls throughout the track. Every element shines here, with the rhythm section taking a commanding performance to new levels entirely. LePond and Donati bunker down in the low end, and add punch to a mix that would be little without it.

That same system works for "Follow The Line," one of the larger sounding productions on the album. Lemar, still forming his own identity, is at his level best here. But in addition to strong performances from al the key players, you have a jazz funk thread that runs throughout, eliciting a head nod or ten along the way. Harnessing a lot of the left over raw energy, "Slaughtered" is a track as unique as the band itself. Between the carnival atmosphere of the bridge, and the intoxicating layered vocals that follow, you have a lot to digest, in the best possible way. It leaves, of course, only the closing track to finish the job. When that finale is nearly twenty minutes, it becomes an album in and of itself. It takes on a life of it's own, with a handful of different movements contained with its walls. It hits on all levels, with few flaws for a track that boasts this length. Lemar, however, has a mixed effort here, his grunts sometimes feeling forced, especially combined with a lyrical performance that doesn't stand up to the rest. But as he regains form, so, too, does the track at large. Lalu orchestrates a brilliant mix here, finding that delicate balance between all of the pieces at play.

There are numerous takeaways from this album that deserve mention, and not nearly enough space to mention them all. But what Vivien Lalu has accomplished here is nothing short of a rousing success, keeping the sound all his own, while still absorbing the input and talents of musicians in the upper echelon of their craft. There are no true pitfalls to be found; the tracks are, for the most part, short and deliberate, leaving no room to a listener to get bored or reach for the skip function on their player of choice. But what remains most impressive on the first listen as it is on the twentieth is the ability to flip the switch, and go from blaring and dynamic to soft and brooding. It's as if they know exactly when to exercise restraint, and when to let loose with the bursts of creative energy. Much of that skill traces back to Lalu, and his ability to blend and manage his worthy constituents; but they deserve the shared credit, and they've also bent their normal output to fit into that larger mold. That give and take is exactly what you need to release an album as strong and unique as "Atomic Ark."